Da Vinci Jazz
Daniele Guerci, Fausto Beccalossi, Javier Girotto, Laura Sillitti, Luca Falomi, Riccardo Barbera, Rodolfo Cervetto, Simone Cricenti
Physical and Digital Release: 12 June 2020
Luca Falomi, Riccardo Barbera, Rodolfo Cervetto and their collaborators present Esperanto, exploring a shared musical language through contrasting instrumental voices and ensemble exchange.
13.67€
Digital programme · 9 tracks
Track timings refer to the digital edition.
Javier Girotto is an Argentine-born saxophonist, flautist, composer and arranger based in Italy. Born in Córdoba in 1965, he studied at Berklee College of Music before developing an international career that brings jazz into dialogue with Argentine folk traditions. His projects include Aires Tango, Córdoba Reunion and collaborations with Fabrizio Bosso, Ralph Towner and Michele Campanella. His instruments also include quena, sicus and other traditional flutes.
Luca Falomi is trained in classical music and has a vivid, incisive and silvery touch in his right hand and meandering deftness in his left hand. Still every song he has composed clearly shows it is heartfelt and comes from a place that is nobody’s and everybody’s land at the same time, a place where every music culture has thrived and brought fragrant contributions to jazz. The keystones supporting the framework of sound have been the same for the last five hundred years nearly all over the world, the tangle of notes that we might define Afro-Mediterranean and the ones which, arising from there, later simply and naturally became Caribbean Afro-American and Latin-American notes. Jelly Roll Morton said one century ago that the essential ingredients of jazz are creativity, surprise and an expert sprinkling of “latin tinge”.
Riccardo Barbera contributes double bass and electric bass to Esperanto: Voices, the Da Vinci Jazz recording led by Luca Falomi, Riccardo Barbera and Rodolfo Cervetto. The project expands the trio’s instrumental sound through collaborations with vocalists and guest instrumentalists, creating a different ensemble for each piece.
Rodolfo Cervetto contributes drums and percussion to Esperanto: Voices, the Da Vinci Jazz recording led by Luca Falomi, Riccardo Barbera and Rodolfo Cervetto. The project expands the trio’s instrumental sound through collaborations with vocalists and guest instrumentalists, creating a different ensemble for each piece.
Daniele Guerci contributes viola to Esperanto, the recording by guitarist Luca Falomi, bassist Riccardo Barbera and drummer Rodolfo Cervetto. The programme brings jazz into dialogue with Mediterranean and Latin American musical traditions.
Fausto Beccalossi contributes accordion to Esperanto, the recording by guitarist Luca Falomi, bassist Riccardo Barbera and drummer Rodolfo Cervetto. The programme brings jazz into dialogue with Mediterranean and Latin American musical traditions.
Laura Sillitti contributes violin to Esperanto, the recording by guitarist Luca Falomi, bassist Riccardo Barbera and drummer Rodolfo Cervetto. The programme brings jazz into dialogue with Mediterranean and Latin American musical traditions.
Simone Cricenti contributes cello to Esperanto, the recording by guitarist Luca Falomi, bassist Riccardo Barbera and drummer Rodolfo Cervetto. The programme brings jazz into dialogue with Mediterranean and Latin American musical traditions.
Egberto Gismonti: (b Carmo, 5 Dec 1947). Brazilian composer. He began piano studies at the age of six at the Nova Friburgo Conservatory, studying classical music for 15 years. He moved to Rio de Janeiro in 1968, where he successfully participated in the Third Rio International Song Festival. He then went to Paris to study orchestration and analysis with Nadia Boulanger and composition with Jean Barraqué. After his return to Brazil, Gismonti developed a personal style incorporating Arabian and Italian melodies (his family’s heritage), classical and contemporary music (especially Villa-Lobos and Stravinsky), traditional national genres (folklore, choro, bossa nova), Brazilian Indian themes and jazz. Influenced by the choro, Gismonti taught himself to play the guitar. He has played, recorded and toured throughout the world with several musicians. Since his first recording in 1969 he has made about 50 albums of his own compositions (most released by ECM Records and EMI-Brazil), in which he plays the piano, guitar, various flutes (including Indian instruments), kalimbas and other instruments, winning several prizes. He has also worked as a producer, arranger or player in several other musicians’ recordings. Gismonti’s compositions encompass a great diversity of musical elements and forms, both Brazilian and international, and have been written for solo instruments, ensembles, symphony orchestras, dance, theatre, films, exhibitions and poetic anthologies.
Luca Falomi is a guitarist and composer and a member of Esperanto with Rodolfo Cervetto. The trio’s Voices project brings original compositions into dialogue with guest singers and instrumentalists. Its programme moves between acoustic trio writing, improvisation and a wider palette of voices, strings and percussion.
Riccardo Barbera is a double bassist and composer and a member of Esperanto with Rodolfo Cervetto. The trio’s Voices project brings original compositions into dialogue with guest singers and instrumentalists. Its programme moves between acoustic trio writing, improvisation and a wider palette of voices, strings and percussion.
Esperanto was the attempt to relate different languages to a lexical and grammatical common denominator, thus assuring a basis for communication to as many people as possible. This sounds as if it were the outline of jazz events, which, in any case, were not an attempt but rather good history, i.e, action carried out in the course of time that has shaped a community of purposes and values. Luca Falomi is trained in classical music and has a vivid, incisive and silvery touch in his right hand and meandering deftness…
Esperanto was the attempt to relate different languages to a lexical and grammatical common denominator, thus assuring a basis for communication to as many people as possible. This sounds as if it were the outline of jazz events, which, in any case, were not an attempt but rather good history, i.e, action carried out in the course of time that has shaped a community of purposes and values.
Luca Falomi is trained in classical music and has a vivid, incisive and silvery touch in his right hand and meandering deftness in his left hand. Still every song he has composed clearly shows it is heartfelt and comes from a place that is nobody’s and everybody’s land at the same time, a place where every music culture has thrived and brought fragrant contributions to jazz. The keystones supporting the framework of sound have been the same for the last five hundred years nearly all over the world, the tangle of notes that we might define Afro-Mediterranean and the ones which, arising from there, later simply and naturally became Caribbean Afro-American and Latin-American notes. Jelly Roll Morton said one century ago that the essential ingredients of jazz are creativity, surprise and an expert sprinkling of “latin tinge”.
Riccardo Barbera is a contrabass player who has always been able to broaden the pure vocabulary, grammar and syntax of jazz by successfully going deeper into the musics of the world that require no passport or identity card: a changing and extraordinarily rich world that the West has long considered “alien”, busy as it was to look at itself in a distorting mirror, and that jazz has managed to merge.
Rudi Cervetto, on the other hand, is a drummer who loves playing with his instrument, urging it to respond in the most diverse and creative ways, even by means of inventive and heterodox gestures. Frank Zappa said once that music is the art of decorating time, therefore one of the instruments that was invented to take time may be, all the more so, a brush painting on a canvas made of instants. In case of need, however, he displays powerful rhythmic nerves, a drive rousing the players he shares the stage with to a forcibly induced dance.
It is now understood that such an ensemble can expand and welcome any kind of timbre and tempos on stage as well as in a recording studio: a small and coloured orchestra is currently being formed, and there is no limit to the nuances of colours in the world. For the time being, let’s enjoy them as resounding as they are, while taking into account that here the refined and burning passion coming from Fausto Beccalossi’s accordion and Javier Girotto’s saxophone provide further seals of intensity in their embodiments of the latin tinge: it tallies.
Guido Festinese
Selected awards, reviews and interviews. Radio broadcasts and podcasts are listed separately below.
Strumenti & Musica
Dentice enthusiastically praises the trio’s expressive generosity, Mediterranean character and balanced blend of melody, harmony and rhythm, together with the vivid contributions of its guest musicians.
Read the review ↗ - Strumenti & MusicaKathodik
A positive review praising the trio’s fluent interplay, melodic freshness and imaginative fusion of classical, jazz and popular influences.
Read the review ↗ - KathodikJazz Journal
An appreciative review of the trio's musicianship and cross-cultural sound, particularly the contributions of the guest soloists, with a reservation that a more sustained quartet format might have developed these possibilities further.
Read the review ↗ - Jazz JournalL’Invito
A feature and conversation with Luca Falomi exploring the trio’s first album, its cross-cultural language, original compositions and musical partnership.
Read the interview ↗ - L’Invito
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